AD 10 Advanced Floral Design Raster to Vector

1. Intro to Advanced Floral Pattern Design; Raster to Vector: Hi guys and welcome. My name is Dolores Nazca and I'm coming to you from sunny, Manitoba, Canada. The class I'm bringing you today is that advanced pattern design class. And even though we end up in Affinity Designer, that's not the way we start. I'm gonna be taking you through my entire workflow, starting with the actual drawing of motifs in Procreate, I've developed kind of an interesting and different techniques. I've never seen it before. It'd be be out there, but I personally haven't been using this until recently. But I've developed a technique where I can do the inking in a particular way in Procreate so that the lines come out clear. In other words, the background of the final pattern is what ends up being the color of the internal lines on each of the motifs. That sounds a little confusing, I'm sure, but if you pick this class, everything will become leader. But like I said, we started out in Procreate. I'm actually going to be tracing photographs that I took myself of flowers in my own garden. Then we're going to be doing that drawing technique so that we get the lines to be clear course at that point we need to vectorize. So you're going to see me take it into Adobe Illustrator. That's my program of choice for doing the audit tracing, you can use whatever program you're used to using. So if you have perfected the workflow using Adobe Capture by all means use Adobe Capture. There are online converters. There are apps like vector Nader that you can use. It's up to you. You could go back to the other classes that I've explained these techniques to you. Whatever suits your fancy. Then what we do with those vector motifs is saved as an SVG file. Svg file can then be imported into Affinity Designer, and that's where the fun starts. So I'm going to take you through my whole process. So you're gonna be watching me as I kinda figure things out like color schemes and arrangement of my pattern. I don't necessarily land on the same color scheme by the end of the class. But you'll see that it's all part of the process. Now if you haven't done so already, I'm going to suggest that you hit that follow button up there. That way you're gonna be informed of any of my classes as I released them. Also, I would suggest you add your name to the mailing list on my website because I send completely different things from there. You can find that at Dolores Hart dossier. So I hope I haven't scared you off. If you're ready to go, let's get started. I'll meet you in less than one. 2. Lesson 1 Inking the Florals in Procreate: Hi guys, welcome to lesson one. As I mentioned, we're gonna be starting in procreate. And I'm gonna be showing you that new technique that I've developed. Let's get into it. So I thought that for starting this project, it might be helpful for you to see all the steps that I took. So this is the mandibular or rock trumpets, floral. This was the original tracing for it. So I started to ink this kind of the traditional ways. So I was trying to figure out, Okay, I want these lines to actually show through to the background layer. And I was laboriously inking like this. So I would do my sort of main shape kinda like this. So the next piece I would carefully try to avoid in Qing into the areas where I wanted to actually have a space. So I'll add a bit of a release. So this is how I was doing it and it didn't take me long to figure out that that was a terrible way. So I would fill these areas and then I would like go in here with my eraser using the same brush. And I was like going in and trying to correct these lines and I was finding it just way too labor-intensive. So I thought, well, what's another way that I could get that release in there? So the way I ended up doing it was to have the actual lines on there afterwards or paint them on afterwards or even before using the white line. I know that sounds confusing the before and after things. So I think the best way to show you this is to demonstrate. So I'm going to turn everything off here and let's start by importing a photo. So I went to my photos and I have a bunch of these that I had photographed. Whoops, well, that's not the one I wanted. Here they are. This is the mandibular vein here too. So I would bring in the picture, it's on iCloud and have it in there so that I could trace it. So these are photos I took myself. These are not copyright protected, nothing like that. So I would strongly suggest you do your own photography or go to a site like Unsplash or Pexels and find a royalty-free image. So this is the way I did this whole operation. So I kinda screened it back a little bit, change the opacity to about 88. I don't know. Sometimes it was more, sometimes it was less. And sometimes at the end I would still bring it back up so that I could really see some of the detail. But essentially what I did was added new layer. Then I started with black. We'll actually the way I backtrack here, this is what I'm gonna do. I'm gonna show you write from square one. So the first thing I did was to trace this out with a pencil. So one of the advantages I think, of doing it this way is that you can take a little bit of artistic license and kind of change your tracing if you need to. If you want to simplify it, this would be the time to start simplifying. If you wanted it really detailed, you could have that reflected in what you're doing. But this is just a really good way to create the sketch that will guide you for doing these lines. I think eventually, after doing this for awhile, I would probably be able to just kinda go straight into the inking stage. But right now I'm still wrapping my head around this technique. So for me it was just easier to do this. So I'm somewhat simplifying it as I go along. And I'm putting some of the detail lines in here just so that I remember what I'm doing when I'm doing the inking. Sometimes it's really hard to tell like this. It's really hard to see what it is that I'm wanting to, or needing to praise. But I think I'm just going to simplify it like that. This looks to me like that whole edges fold it in. So I'm kind of figuring it out as I go along. So pretty some of those little details and folds in here because I think I want to add those definitely. I think this one should be a little bit more curved to look proper, and I think this gives me enough information so I can turn off my photo. And now this is what I would use as my guide for the inking. So again, I am going to reduce the opacity of this. I'm going to add a layer, and here I'm going to start with the black. So I'm basically make sure you're on the other layer. How many times do I make that mistake? Honestly? Oh my goodness. So I'm going to use my favorite brush there and I'm pretty much going to go around the whole contour of it here. And just right there, just this one step here. You can imagine how much faster this is than when I was trying to go around all of those little lines or the divisions between the areas, making sure my black is truly black. It really helps, by the way, to have the background have a little bit of color in it. I had gone right into my background layer here and changed it to a light blue. You can do whatever color you want, but I use the light blue. So now I've basically got the whole contour. So the first time I tried it, what I did is I filled the entire flower and then I tried bringing my sketch to the top. And you can see the problem right away. I could change this to blending mode that might have it show up, but really it didn't. That wasn't going to work for me. So what I did is instead I left the sketch where it was and I decided to use white, not the eraser, but use white paint, right? White ink. Ink. My lines in. What I'm doing is I'm just basically going to do all of the detail lines here in white. And if you want it to actually break the outside line here, you need to go right past it. It seems really weird because you think to yourself, well, how can, how can that work? Because if I'm tracing this next in capture, Adobe Capture or Adobe Illustrator, isn't it going to trace all around those white bits? And it actually doesn't. It recognizes the white as if it was transparent. So it's like a white, basically looks like the paper that you would have drawn this on if you had inkjet. So in most cases, I'm breaking that outside border line and sometimes it's tricky in a spot like this. Okay. Now where, where's that line supposed to be? But I'm going to go kinda like this. You'll see that once I fill this with black, you'll see kind of what happens there. Now here I had a little gap which would have been a problem. So I'm just going to cheat a little bit here and bring that line from that gap. Because when we go to fill, believe it or not, the white acts just as if it was black. And I know that all of this sounds like super confusing at the moment, but just hang on a second and you're going to see why this has turned out to be a really cool technique that I've never seen before. There might be other artists that are out there doing this 90% of the time when I think I'm the first one who has done something, I end up finding somebody later on who's actually done it before me. So I hate to say I'm the only one that knows how to do this or I'm the only person. But as of right at this moment, I am the only person that I've ever seen do this. Okay, so I've got that all he inked and little things like that are not gonna be a problem because now what I'm gonna do is go through and fill this all with black. So I'm going to take that and I can increase the threshold to make sure that it's filling in as much as possible. Check here because I know I've made that mistake before where I think we had spilled really well, but it hasn't and it looks like it has done it absolutely perfectly. So now I'm going to continue refilling. And the thing is with this too, is that once you let go, you can do this, continue filling with re-color, move your crosshairs to another area and then you can tap. Now that just a second ago? Yes. You can see why that did not fill and that's because I have a little gap here, no matter I can now just to fill it. And I've got my beautifully inked flower. Oops, I guess I better ink that block If I want to fix it up. And from what I can see here, it's worked out perfectly well. So all of these lines that I've brought out to the end are now breaking the edge. So that means that when it traces, its going to trace it so that these little shapes have a nice clean edge to them. If you don't know what I'm talking about, stay tuned. Next lesson we'll take this into, I'm going to take it into Adobe Illustrator, but you can take it into Capture if you don't have illustrator and, or vector Nader or whatever your preference is. And I'm going to do an auto trace of that flower. So I'll see you in the next lesson. 3. Lesson 2 Auto Tracing in Adobe lllustrator for iPad: Hi guys, welcome to lesson two. In this lesson we're going to be doing the auto tracing. I'm gonna be showing you how I do it in Adobe Illustrator, but you can do it in whichever program that you'd like. As long as at the end you've got a nice SVG file that you can import into Affinity Designer. So the next step for me here is to take this into my vectorizing program. I always like to do a quick double-check and just kind of myself up a little bit and take a look at the overall finished flower. So in this case, what I don't like is that these are all ending at the same spot. And I think that I could change a little bit about the way the details are on here. So this is your chance to make the changes because you'd rather do this now, believe me, than when it is already a vector. So I'm going to pull a couple of these lines all the way down. And I'm going to add a couple more while I accidentally switched to black there. So I'm going to add a couple more here and there. And I need this one to come down a little bit further. And the nice thing about this tapered pen pressure brush is that I can apply more or less pressure. You get different thicknesses or something like this. I might want to actually pull that line down. Have you ever seen these plants? This is a really gorgeous vine and it has really nice dark, glossy leaves. And my daughter, one of my daughters gave me this for Mother's Day a couple of years back. And I love this one so much that it's one that I will take into the house for the winter. So it is a pampered princess, this one. So really gorgeous. Deep mine is a deep, deep, deep, deep pink. I think they'd come in different colors. I think you can get them like in red, e.g. like the maroon color, I think on this one I might just do something like this. If you make a mistake anywhere, you can go back with the black instead to pay for some of your lines or generally fix anything up. I think I like this a lot better with some additional lines in there. You can also on the outside, use the eraser and double-check some of these types of things like where you went off the edge to make a line. You want to make sure that those are fixed up. Now, if possible, there will be some fixing up that you will do when you are in Affinity Designer. I mean, there's always something when it comes to these kind of things that you auto trace, there's always little things that don't quite look the way you want them to, so you do end up having to erase. And I know this seems weird, like I'm leaving this whole thing on the outside, but believe me, it doesn't matter at all. So I feel like this area needs a little bit too. And this is why I always kinda leave my photograph here because then I can go back and see. So this is the way the brain went to go was kinda like that. You can see the lines in there. I'll bring this up to full opacity. And so you can just kind of vaguely make out those lines there, but they all converge over here. So that tells me that with my inking, my white line, make sure that's pure white, that these lines would go like this. Now, I also went through and I traced a lot of other stuff in here. So you'll see that when we get into our tracings so you can get rid of these things now you're not going to need them. If you would prefer to keep them, then absolutely keep them and it's fine. It'll still be fine when you take it into Adobe Illustrator or you're tracing program. But you can see all the different ones that I did here. And the cool thing is, now that I've retrace this, it actually does look quite different than the original. I think this may have been the original, I'm not sure, but now I have an additional flower if I really needed it. So I'm turning on all my layers here. It's not absolutely necessary. Next step here will be to share it as a PSD file. And the reason I'm saving it as a PSD is that it will then be still in layers, which is what I need for tracing in Adobe Illustrator. So I'm going to, I accidentally did just save image, but I want to save it and put it into my pattern design folder. And I have a folder already made for it here. And I'm going to just call this one class test and hit Done and save. And now I've got that layered file that I can take into Adobe Illustrator. So let's pop into Adobe Illustrator here. Like I said, you can do this in Adobe Capture and I've showed you techniques for doing that in other classes. One of the things that I do when I'm using capture would be to do corner marks and that sort of thing. So you need to go back to the other class to get a full explanation of capture. I prefer doing it in Adobe Illustrator. And the reason for that is, well, you'll see it in a minute. I'm going to import and open, and I'm going to click on class test, and it takes a minute to convert it. We want this one here. We want to convert the layers to objects. You don't have to hit Import hidden layers unless you want to. I think it does anyways, like I think it'll import my photograph and import my background. We'll see in a second. Okay, so it didn't import the photograph, the imported the Outline, so I still have my tracing there and I have this background. I'm just gonna get rid of those because I don't really need them. And so now each of my layers here is individual. So this is the way I generally do it is I turn everything off and then I start from the top and do one at a time. I want these to be separate because then there'll be grouped separately when I take them into Affinity Designer, by the way, you could do all of this in Adobe Illustrator as well, especially if you have the desktop version. I personally don't do much pattern design in my iPad version, but I definitely love it for doing this kind of thing, like the tracing. So once you have that layer exposed, you either click on it over here or click on it over here. And you'll get this contextual menu here. And you want to click on this first one, which is image trace. And you can see that it does a quick and really awful tracing. I actually rarely use sketch anymore. I go straight into logo here. I feel like I get much better tracings and it'll disappear for a second here because at the moment it'll come up as a color, Color Fill or doesn't disappear. Okay, cool. I will switch it to black and white though, because that's all I want is a black and white tracing. And I don't know if it's because I have been using these three settings quite a bit, but they always seem to come up about there anyways, which is basically my what I would consider really good tracing. You can continue to tweak it. You can play with the controls here. Generally, the only thing that I would really affect is this. The amount of corners and paths, corners tends to help you keep the point on things a little bit better. So that might be something to consider. I find that really it's pretty much okay by just leaving it at the settings that come up. So take note of the ones like right now I've got 120-87-0190, 3.25. You could write down those numbers and then you could use that for all of the rest of the tracings. The other thing you really wanna do is ignore white because you don't want it to actually trace the whole white background. And the cool thing is really when you're looking at it here, you don't even see anymore that those were white lines. It's totally interprets it as paper. And so now it'll just show through the hit Expand vectorization. And I've got my vector tracing. So you can see here that the way it has done it is exactly what we want. It has a solid black background and whatever was in white. Now see-through, so it'll show through anything on the background. So that's the steps I take. So let's do just one more here. I've got this all done already, but what we'll do is we'll hide this one, will show this one. Click on the layer, it's now selected, so you can choose Image Trace here. So this is the one I drew with you guys in class. So click on Image Trace, it takes a second, it comes up logo, it takes a second to process, maybe 5 s to process. Those settings look pretty darn good. So you take a look at it though if you see something like this, okay, so something must have, oh, I know what? I've got this on color, so I have to change it to black and white. There we go. And now it's all good. I had it on color. What it did was interpreted some of the bitmap edges as grade, and I don't want that. I want it to be a solid block. So it's all good. I like these settings so you can take note of those 12,850.75, not much different than I just showed you. Get ignore white and then expand vectorization. And there we go. So I would go through and do all of these, every layer. And the next step we'll be exporting it as an SVG file that we can open in Affinity Designer. So let's do that in the next lesson. I'll meet you there. 4. Lesson 3 Exporting and lmporting the SVG File: Hi guys, welcome to lesson three. So I'm going to show you this pattern as I developed what I did do some tests with a color scheme. And I want to try a completely different color scheme in Affinity Designer because there's no really easy way to do different colorways as you can do them in Adobe Illustrator on the desktop. So the method I'm gonna be showing you will end up having me do a completely new patterns. So I'm definitely going to be arranging it differently just so that I have an alternate pattern that I might be able to use for either a different collection or a coordinate in the same collection. Let's get started. So I'm going to quickly go through here and do all of the different layers. So I have them ready for the next step. Okay, So I've got them all vectorized now. So this is where I would then of course, exports. So probably every vectorizing program that you're going to use will have the ability to export this as an SVG. So in Illustrator, you go to the sharing icon at the top here, you need to go to Publish and Export. You can't do the Quick Export and go to Export As and in the format here, what you wanna do is save it SVG. Now, I've only got the one art board so I can leave it, I can leave it on all art boards. I'm going to hit Export here. I mean, it's just so simple. And I know that this is a program that is expensive to buy in the sense that you have to sign up for a subscription with Adobe. But I think at this point you can buy just the subscription for Adobe Illustrator. You might want to consider it if you're gonna be doing a lot of this sort of thing, because I just find it's so much faster and more efficient to do in Illustrator and just makes more sense to me than Adobe Capture, e.g. I. Find with Adobe Capture, you gotta do all those extra steps to be able to separate your layers. So I know tough call in my case because I already subscribed it's part of my bundle. So I'm making sure that I save it in the right folder. Normally I rename it here, but class test will work for me today, and that's it. Now I'm done with Illustrator, so I can close out of that. And now I'm going to open Affinity Designer and I'm gonna go into my pattern design category here, and I want to import that. So I'm going to hit the plus sign up here in the corner. And in this case, I'm going to open it from clouds. So it's in my files that I have saved on my Cloud, the iCloud. And it's gone right to this folder only because I was already just in this folder. So I want to open up the one that says class test art board. So that's the original and then this is how it has saved it for me. And it takes a minute. And you'll see that it imports flawlessly. It looks gorgeous. This checkerboard in the background shows me that all of my lines are transparent exactly like I wanted. And you can see here that every one of my layers is here. So all of my flowers are already separated into their individual groups. And let's just turn everything off. We'll just do one at a time. And I want to just do a quick initial colorization. Select the layer that you want to color. I've chosen this palette. It was originally peach and meant, I guess it still is. It's got a few other extra greens and things here, but I'm just going to use this and I'm going to select the flower. And let's just make that one that color to start out with. Go back to layers. We can, maybe I'll just leave it on because I think I'll maybe sort of roughly start resizing. I see in here this particular one, for some reason everything was turned off. Okay, so this is a really interesting issue. So if you wonder why this background is here the way it is, It's because I accidentally on that particular layer, forgot to hit ignore white. So what it's done is it has done a whole background here that it was originally white when I brought it in and I turned it pink Just now, I'm going to have to delete that, but I want to make sure that I keep all of the actual flower there. So the only thing I'm deleting is this white, what was a white background? And now you can see that my entire image is there, so that's good. And I can change the color of it. And I'm just going to line them up. They're not going to be really in the form of a pattern yet. So that's that one. This one is already showing. Let's make that one alternate color. And you see as I'm going through here, I'm selecting the layer. I can assign a color to it. And it fills the whole group, which is really great for this initial step here and leaves, Let's just do that. Kind of a greeny color for now. This is another one of those little buds make it a different color from the original, from that one there. They're really similar, but you can see that the inner lines there are different. When you're selecting them. You can do it by either highlighting the layer like I'm doing here, or you could, if it was not selected, you can also double-click or single click on it and you will get the selection the way you want it will be going through and we're gonna be individually re-coloring. Some of these will do that. Maybe once we've got the pattern kind of arranged. So I've got, I'm probably going to end up having to resize these a little bit to work for this pattern. And for sure, I'm going to be recoloring sections of them like e.g. on these, there's the stem. The stem obviously is going to have to be green. Okay, So at this point, I'm ready to take what I've got here and put it into a pattern repeat document. So I'm going to use the move tool here and I'm going to just drag so that I've got absolutely everything selected. I'm gonna go to Copy here, and I've got a blank half-drop repeat here. You can see that I've got the template that I normally use and I'm going to put it in art board one, so I'm selecting that for now. You can see that there's assemble here. In fact, I'll just paste it first of all, and it's not in the symbol at the moment, but as soon as I drag it down here into the symbol and I'm not dragging it onto the square because that would clip it. I'm actually choosing to put it above the rectangle. That rectangle forms the background. And what a beautiful pattern said, no one ever. First attempt. Okay, So at this point, we're ready to start doing our arranging of the patterns. So I think we can start doing that on the next or in the next lesson. Alright, So I will meet you there. 5. Lesson 4 Creating an Alternate Color Scheme: I know I talk a lot about the merits of different software programs. One of the things that is missing in Affinity Designer that I do have on my Illustrator program on the desktop is the ability to re-color. So I was just thinking as I was off camera, rather than do this whole thing in the color scheme that I used before, I'd like to try this in an alternate color scheme, and I want to do it in the colors that I created, the titling for this class. So I thought the easiest, fastest way, we'll see, I guess we're going to import or place one of the title slides that I have from this class. So I've gotta go to my Skillshare folder and down to this class. And you could do this with any image. So you could grab an image from the Internet. You could source it from color schemes that you've collected. I'm going to just do it this way because for me it's just fast to do, tend to do it this way right now. So I'm importing this and I'm going to use these colors to produce a new color palette. So let's go into our colors here, and I'm going to go into the swatches, but I want to add an application palette and I add an application palette so that palette will remain available to me at all times. And I think this one, I'm going to call it soft yellows and say, okay, and then in order to sample the colors here, I'm gonna go large. And what you need to do is just drag your eyedropper to a color that you want. Click on it and it'll pop over to this side. This is selected at the moment, so it's going to recolor everything. But what I can do is just Back off of that. But I've already got the color added, if that makes sense. So I'm going to do that with another color here. So let's go with this nice green colors here. But that's okay because I just want to add the current field to the palette and then I'll just undo. And I will keep doing this until I build up my palette. So I'll just time-lapse this for you. You don't need to watch the whole thing. So this happened because I hadn't clicked on here to switch that over to the actual color fill. But that's okay because I can just click on it and delete it. So make sure you click here. It'll put it here. Then you can add your current fill to palette. Two-finger click will undo, and then you can keep going. Another thing that you can do is you can select the color, switch it over like this, but then you can go into your color wheel and slightly change the color if you think you want to add a couple of additional colors that aren't in your picture. So I'm just going to undo and go back to it. First of all, I'm going to go to my palette to add it. And I need to add this little grouping here. But I really think that I want to change this to be a little bit prettier. So I'm going to go onto the color wheel here and I'm shifting that over a little bit to the reds, which will give me that peachy color. And then back to my swatches. Add current fill to palette, you see, and then I can go in here. And instead of working with this from now on, what I'll do is just add a couple of colors from here. So I'm just changing this, going a little bit lighter, a little bit brighter, kind of peachy. Go back to my swatches at the fill, then I can continue to go back here and make adjustments. Go back to swatches, add current fill, and you can see how I'm building up my palette this way. I think I need a lighter version of that. So I'm going to go quite a bit lighter here, maybe a teeny tiny bit peach here. And I've think I've got enough to get me going. So this I can now just delete. And now we can go through and make the changes to our colors. So for this one, I'm probably gonna change them all, I guess now to be colors that I have here in my swatches because I want to just experiment and have a different, first of all, it's gonna be a completely different pattern because I'm not going to be looking at the other one to do this. And it's going to have a completely different color schemes. So it's gonna be a really good alternate. It might end up being second hero pattern or a really good coordinate. So let's just work our way down here and re-color these things based on the new palette. I'm not thinking about it too much. I'm just throwing in these other colors and you don't want, I might end up going back and changing so that I have kinda pure yellows here because these are kinda grainy. So in a case like that, I would go into the palette here and maybe move a little bit away from the green here on my outside wheel. And it's kinda moving a little bit more into the golden, orangey, yellow and try something like that. But I'm gonna go to the swatches and make sure that I added so that I've got it there. I might want to color more than one thing in that color, so I want it definitely have it added here. Continue with peaches, so easy to lose track of which ones you've done. So I would suggest you work your way down. That's what I should have been doing and I want it to be the colors from this new palette. So you can do more than one thing, like more than one motif in the same color. And I think I want a based on this color here, but this one here, I think I want to make this even more sandy colored. And I think there's just this one left. And I think that's it. So I've now recolored everything. Big shift in what I was going to do. But now at least everything is in the colors that I want. And then this is the fun part for me. This is like the puzzle-solving challenge is now to create the pattern out of all of this in the next lesson. And what we're gonna do is start doing the rearranging. And usually at this stage two, I decide how many but enough motifs and whether I want to possibly duplicate something. I'm pretty sure I'm going to duplicate this leaf grouping here, and I'll do all of that in the next lesson. So I'll meet you there. 6. Lesson 5 Filling Out and Initial Arranging of the Pattern: Hi guys, welcome to lesson five. I've got all my motifs and now I want to just kinda start working with arranging the pattern in a pleasing way. Let's get started. Alright, so I think I will start by duplicating this guy here and then making some changes to it so that it doesn't look exactly the same. I want to change the shape of it somewhat. So I think this is probably the easiest way to do it and that's using the shear. So you can see that that's distorting it. But I want to make sure that I don't distort it so that it looks really weird because you can easily go too far and something like that looks really distorted, kind of skewed. So I'm going to just do it a little bit and I think that's pretty good. The other thing I'm gonna do is just flip it. And that makes a difference to so you can flip it both ways. Decide which one looks the best. I think I like that one, so that's alright For there. And now I'm just gonna kinda do my initial sort of exploration of how I want to arrange this pattern. So I'll show you the one that I did do. This is the one that's complete. And I like this color scheme to it's kinda fun. Very unusual, almost has a Christmas Eve vibe to it. I'm wouldn't say purely Christmas, but definitely having that red and green together suggests that. And like I said, in this program, there's no really easy way to do your re-coloring. There is a filter that you can go to for re-coloring. I plan to do a class on that at some point, but it's not like doing the re-coloring in Illustrator on the desktop. So it's kinda fun that I can now do this and create a completely different color scheme, even just looking at them here in the thumbnail view of them, you can see how different that coloration is going to be. Now the other thing I should mention is that generally I will delete this initial layout of my pattern. But before I do that, I really liked to add a new category here to my assets. And then I go in and I individually saved the asset so that I would just select and then go into the category itself. So this one I would rename, of course, let's rename the category. I'm going to call it amanda Villa because that's the kind of flower. Click. Okay? And then I can add a subcategory. Within this subcategory. Now, I can add the assets. So I would go through and individually select each one and add it until I have the full collection there. So I don't generally throw away the file until I've done that, but that's one of the things you can do to also help fill out your asset gallery. You may be able to use this again, if this was a pattern that you created and you didn't license, you could definitely do all kinds of different versions of it in different colors and different arrangements. I don't know if I'm gonna sell this one or not yet. I like just covering, covering all the bases. So I'm gonna go through and do some arranging here and see what I can come up with. It's interesting. In some cases, like this particular one here, I have in yellow at the moment and I think it would be better in green. So I can go ahead and do that. And another thing that I like doing is adding additional color within each of the motifs. Maybe I will just continue with the arrangement for now. I'll do that first and then we'll talk about doing some changes with the coloration. This is one of the great things about having everything grouped so nicely is that I can just individually grab, move each of the motifs. Now in a case like this, this could be a part of this plant here. So what I would do is go in and recolor just stamps. So you saw that when I initially double-click or initially clicked on it, it highlighted the whole motif. But if I double-click, I can just individually select one of the pieces and I would recolor it the same color. I'm not going to add them together at the moment, but that's something that you could do. I just wanted to make sure that I get all my sizing and everything correct first, I think that would be a good one to duplicate and use elsewhere. So as I'm going through here, I'm slowly building up. In this case, maybe I'll try flipping it, but I'm slowly filling in and building up my patterns. So here, maybe I would line it up about there. I'm looking at this stem here. First of all, I'll move this and then this dam here. I would also recolor to match. So I'm slowly going to be adding to my design here. And the great thing about being able to preview it here is seeing how everything will work overall with the design. So I'm thinking you can see here that this little guy is going to conflict with that, with the positioning of other things. So maybe I would move that down. And this is one of those. Buds that I don't know if you took a close look at the photo or not. But that's what those little things look like. So I think I've only done two of them, but you can get them all hooked up together and they can be kind of motif from their own, or you could add them to one of the stems from the flowers. I would probably go back and draw a few more so than I would have more of a variety to work with. This is that grouping right here. Actually, what I would do on this one is pull that one over a little bit so we can see it. But I go in and color all of these m bits. So that would be probably all of this stuff here. So I've got one finger held down here and it's allowing me to select multiple parts. And I believe that would be all that would be green here. And actually, if you really look at it, it was it wasn't even fully green. It was more like almost like an off-white color. Let's look back at that. But you see there's just a super light green. And it actually even Kinda blends into a lot of the huddles what will become petals here. So that's something to keep in the back of your mind as you're working on this. Maybe in the end, we'll do some really cool stuff with the coloring. I think I'll go What color was it, that one? Yeah. But I like that. I think that's a really pretty little addition. And again, that's one of those things that you could duplicate. It could grab this whole group here and duplicate it, had only one thing selected, so I'll duplicate again. And then now that duplicate could be something that I add to one of these other stems. I don't know what I grabbed there to make that shear. Over here, I can move it into position. And then now this one here, if I changed it to this color or that color, now, that looks like it belongs together. Here we go. Now the other thing I would do here is to take that grouping and move it into this flower is grouping. So at the moment it's on its own. And if we close all of these off, It's one thing I wish it would do is just close these off automatically. This is probably a trick that I don't know. So that would be this flower here. So if I move that into this group, then now if I move this, it's all going to move together. Now, I keep moving that square. So what I would probably do is go in here and go to the layer options and just lock it temporarily. I can always go back later and unlock it. Now this one has this kind of a little stem here. So maybe what I'll do is all three of these parts and rotate it and get it into position. And that one's already in the correct layer, so I don't have to worry about moving it. So all of this is together. You can see now one of the things I might want to do here though, is have it separate so that the stem itself has not connected to the flower. And I didn't do that when I did my initial tracing. So I'm going to show you how to make that little repair. I think we can start that as one of the extra little things that we'll do, and we'll do that in the next lesson. There's a few steps, so I'll save it for the next lesson. 7. Lesson 6 Correcting and Intricate Fitting: Hi guys, welcome to lesson six. We're still doing the arranging of the pattern. I'm gonna be doing a little bit more intricate fitting. And then I also want to explain things that I do like repeating motifs or retrofitting things to attach differently. All kinds of different techniques that I use overall when I'm designing a pattern. So it's all about trial and error. I think. Let's get to it. Alright, so I want to separate this part of the flower from the stem. I could do it all green, but I think it would look better if I could keep this part matching the flower. I think I want to do the same thing on this part of the stem here. And you can see where the how I did the other ones. I got this little spiky thing going on here. And I think I want to carry that through on these two, but at the moment I can't because it's all one shape. So I want to show you how I do that. And it's surprising how often, even though I think that I am perfectly planned ahead, I'll miss something like that. So it's something that I could go back and correct in Procreate and retrace and all that rigamarole, but I think it's just easier to do it this way. So your first step is to break it. That's going to give you that separate point. Okay, So these are now separated. I'm going to do the same thing with this one here. So you can see that that is now separated. And then now if you select and it's kinda weird because they're filled, let me just break this first again because because I dragged it back over. As soon as you drag it back over, your actually reconnecting it again. So I had to break it and you have to keep them apart. So I'll do that with this one too. Once you break it, you can see that you've got that opening there, but this doesn't have a path, so I can't do any sort of adjustment here. So what I wanna do first of all, is to close it. So if I hit close here, you see how it draws a line across. And if I select this one, and you see when I had it just selected with the move tool, that context menu didn't have the information I needed. But as soon as I went to the node tool, it's switched to this and I can close it. So that's all well and good you say, but what now of course, though, it's just straight. So in order to make that zigzag that I want, I need to add some additional points here. So it's super simple here. All you have to do is literally click on the line and you've added your points. So I am going to something like this. And then for this one, I want to do the same thing. I think I just have to add the same amount of points and then I can drag that down and add it here. So it's really that simple. You think to yourself k has got to be something more to it, but no, there isn't. So in this case, this is going to work just fine. You could get all fancy and do them separately if you wanted to. Take a little bit more work, I think this is gonna be adequate, so I need to do the same thing here. It's things first, I'm going to make sure that I don't run out of power here. And then I'm going to break, break these apart, close, close. As my new points have to do a little bit of readjusting here on the shape. And then on this one, I also need to add the three points. And then it's gonna be somewhat like this. I guess I really didn't need that one. I'm going to take that away. And the only thing to be mindful of here is to keep that thickness consistent. So right now you can see that that's a really fine line separating everything. So I need to really exaggerate that. So that's more in keeping with the rest of the design. And let's check this one. And I think this one seems not too bad. The other thing I could do here too, is I can select both of these parts. So I've got both of them selected. I can go up into this menu here and add. And now it's all in one piece. You might want to, before you do that, take this. Here, are all of the parts to this that was harder than it needed to be. And these icons, you can see they're all spread out here. I can group them so that they're all together like this. And then I could duplicate this group. Or what I could do is just go into my assets here and as long as it's grouped, I can add it and then I've got that branch there if I wanted to add it somewhere else. So now I'm gonna go back and select this and go back up to this menu and add. And then this one is all in one piece. So that's one little repair that you can do. And now this flower is altogether and movable. So I'm going to continue with arranging here. I'm always looking at the flow of the pattern and looking at how these different branches are adding to the overall look. Let's go back to the other one here. You can see that there is method to the madness. I have, first of all, space, everything really consistently. And I've tried to balance sizes. So I've got these big open full ones like this one and this one, and this one quite separated with a bunch of these smaller side view flowers kind of in-between. So this isn't at all like this one. I've got something completely different here, but I'm still trying to keep that same look going. So you might need to do some things like rotate. And at first it's a little bit hard to visualize because you've got these pieces here that are cut off. These needs to be repeated in order for them to work properly here. But you gotta kinda just guess. There's no other way to say it. You just gotta guess and you're basically just trying to make a judgment call and decide on what's the best positioning. Now, here's an example of where the two parts aren't together in the layers and it makes it harder to move things around. So here's the piece. I'm going to stick that into that group so that now this whole flower can be moved as one. As I'm going through. I'm really tidying up my layers and keeping them very organized. This one here is at the exact same angle as its copyright there. So I think I'm going to flip this one and see where I could position it. And it actually doesn't even look bad there. You can see that what would end up happening is they would be close together, but that position is actually quite good. Or I could put it maybe up here. So at it helps to clean out this area a little bit. Now, I'm going to keep that angle like this I think because I really like that on this design, all these stems are feeling like they're going the same direction. And now this one, I think, needs a little bit of adjusting. So I'm gonna make it a tiny bit smaller and move it up a little bit. And I know we're going to have to do some work here. So maybe what I can do, I'm kind of glad I kept that one separate because I can sort of move it on its own so I can make it smaller e.g. and get that positioning nice there. And then I can just go in and make some changes here so I can delete a bunch of these extra points and then I can still select these two and add them together. I'm going to put them into the same layer first though, that will make it easier. So we've got this has hit right here, and I want to put it into this group. And sometimes what I do is I will go through and group all of these flowers are, the flower is separate from the stem, but I'm not gonna do that in this case because I can lie that in there. I'll leave that open actually for a second. And now I can select the two parts that I need. This one, and this one is select by sliding to the right. And now I can add those together. And now they're all part of that same layer so that group can be moved in its entirety. Now here's one that needs to be situated. Where else? Basically, that's what I'm doing. I'm going around kind of experimenting, trying to figure out my spacing. This is where that, that part of you that loves to solve puzzles really gets to work. So I'm going to keep working on my arrangement here. I'm thinking that I'm going to need something else in this open area here. So I'll try to figure that out and come back to you in the next lesson with some solutions. Alright, I will see you there. 8. Lesson 7 Adjusting the Pattern Components: Hi guys, welcome to lesson seven. Less than seven here. Not only am I going to be continuing with that motif arrangements and making changes, I'm also going to be adjusting my color scheme. Let's get started. Okay, so I've been trying to manipulate this corner a little bit and I thought I should just bring you along for the ride. This is a little bit tricky. I'm trying to figure out what I can do that's going to balance everything out. So you can see that I've kind of MacGyver, another flower scam. So something that I think fill out the space a little bit better. You can see that this is a duplicate of this here. I'd probably make some adjustments to make it look different, but I'm just right now working on the positioning. I want to just stop for a second here and talk a little bit about self critiquing. So at this point I'm not done. But one of the things I like to do when I'm getting close, I'm just about there. So just stop and really think about all the things that can ruin a pattern, in my opinion. And one of the very first things that I noticed, especially if I squint my eyes or buy back up a little bit, is that there's way too much of a prominent line formed here by the repeat of these elements that are just too close in size and it's the positioning that's really bothering me. So I think that I would move probably this one here and maybe maybe somewhat like this. I'm trying to just kind of think about how I could rearrange this so that I don't have that real straight line occurring here. And of course, as soon as you move it, then everything else has to be factored in. So here I'm moving this, but then it kind of makes this one not quite right. And there's gonna be a lot of manipulating too, correct the issue. And of course, this little guy is what's in behind here. So that would have to be moved. So it's going to have to come probably some somewhere in here that can be worked out afterwards. But I'm thinking that these are some of the things that I would have to do. This one here, I could definitely make smaller and sometimes just making something a little bit smaller works. And I know that I'm gonna be doing a lot of changes with the colors. At this point. I just kinda dropped any old color in there, my palette so that I could just have something to work with. So I think I like this with a little bit of an angle to it, straight up and down just wasn't working for me. And I think that that can be pulled in a little bit more here. We need to see how that would work over here. So sometimes what I do, I'm not gonna do the repeat yet, but I think what I could do is just move it there temporarily. So I'm going to use the same method that we would if we were duplicating it and filling out our pattern completely. I'm just going to add ten. This is a ten by ten square, so I'm adding ten to move it over here. And I'm subtracting five to sort of get a glimpse of what is going to happen in this area. So the reason I'm not duplicating it at this time is because I know that I'm gonna be doing things like changing the colors. However, that said, I'm thinking that it actually would be good to do that. Even if I have to redo it again, I'm gonna duplicate it and I'm going to do the plus ten, minus five. And then I'm going to duplicate again. And this time I'm going to move this down, so plus ten. So I went to duplicate it and it did the duplication right at the distance that I had to move that original one. So in some cases like that, what I do is I copy and paste instead and then I can make the movement. And so now we've got all of our duplicates of that. That's how many times you would have had to duplicate it. I'm going to put them into a group so that I can then move them all at the same time. And I think the positioning is going to be fine and I'm going to wait until I am working on color to make some adjustments here. Either that or I am going to actually remove that extra little branch that I thought was going to work so well. And it didn't. So sometimes that's exactly how it works. Like you think it's gonna be perfect and it's good thing I didn't actually take the time to add it to that original stem because in the end, it's just not likely going to work there. So I don't know, maybe I won't even get to use this elsewhere. So it could kind of fit in there. So you can see how much it really goes into trying to figure out how something is going to work. So this could end up being tied into that other branch. And that's gonna be hard to grab. Now that it's off the image area. Good thing we have them in groups. So what I could do here just to make it easier to work with, I'll put it down here. So I'm just gonna do the plus ten. And that makes it a little bit easier to get to when I'm working on it. So I think for now, I will leave that there. I'm not sure about this one. Whether I'm going to tie it in. I might have to do this kind of a positioning. I don't like it right above because I think it's still adding to that illusion of a straight line there in the middle. So it's something like that, make it a little bit smaller. The other thing I could do is because I don't want this particular combination here because it's exactly like this and it's gonna be really obvious. I could maybe get rid of this one and instead duplicate one of these. So I would group all of these, duplicate it and eventually fix this bottom part to work there. So I like that better. So it doesn't really look as much like this one over here. And I don't know if this one is just not working for me. I think that might be better somewhere else. And we can always go back and change the colors like this might be better in a different color. And maybe in here, I would just extend somehow get another one of these little branches here or extend out from here that is yet to be determined. So I think I would like to take some time off camera and really perfect this pattern. So I think the other thing is that I'm going to maybe change my color scheme a little bit here, just to go a little bit softer, I'm looking at this. And the more I look at it, the more I think a really muted palette might be easier to work with. So I'll go in now and just make some slight changes. I'm thinking maybe more of this peachy tone and maybe some that's a little bit lighter. So maybe I'll just kinda temporarily put, put these two software versions of themselves. So one of the things you can do is if you choose a color and you're kind of okay with the color, but it's a little bit too dark. I would just swipe up here until you get it to about the darkness that you want and then add it. So make sure that you add this one to your palette so that you have a version of it here. So that was actually really similar to this one. So maybe I'll go back and change that. And then this one here, I will just delete. I want to go to a really, really soft green. I think the darker they are is like the more difficult I'm finding them to work with. So I've got a couple of different greens here. Very light. My lighting in here just completely changed. We've got some kind of a storm rolling in and it's like pitch black outside even though it's only, it's only about 01:00, but it seems really dark. Now this little guy here I added with a stroke, so I move that the one that was kinda never finding its own home, I found a home for it. I'm putting it here. And so right now this is just a stroke. So what I'll do is go in here and expand the stroke so that I can select it and select basically all of this. So I'm just going to select it like this. I'm going to drag these two right into that same group though. So that'll make it a lot easier. Let me close this one and move these together. And I'll bring this down into the greens from that group. I'm going to actually move this whole group to be below all the yellow and then make sure all of the green is in there. And then I can select the top yellow 1.2 finger tap to have the whole group selected in the neck ungroup it. I really like having my layers neat and tidy like this. So when I open this one now, I'll have the yellow in one group and the green in another group. Actually, I just got a slide that back into its group. There we go. So you can see that if I turn that off, everything but this one is in there now, it's altogether. And that makes it really easy for me to change the screen now. Which green do I want? I'll go with that later one for now. So I'm going to take a couple of minutes off camera to do the rest of these color changes. And I'll come back to you with the document that has all the corrected colors. Alright, So I'll meet you in the next lesson. 9. Lesson 8 Finishing Touches Before Completion: Hi guys, welcome to lesson eight. So not only am I doing this kind of finishing touches, I also am experimenting with my color scheme and different ways that I can add multiple tones to each of the motifs. Let's get to it. Going to be a bit surprised at how this looks now, I have drastically changed my plan on the color instead. Another design that had yellow and stuff in it. I've really simplified it so that the color scheme centres more around the peaches in green. So I've basically remove the yellow completely. So I would probably have to change the name of this color palette and take these yellowy green. So I probably would eventually take out all of the ones that I am not using if I wanted to use this particular set for creating the coordinates e.g. one of the things I did want to show you here though, is what I might do with this color scheme. Now that I've decided on it, for the most part, I think I'm happy with the colors here, but I think what I'd like to do is show a little bit of variety within the flower itself. So I would choose sections one at a time, but say, well, maybe I would choose, let's say the sort of middle ones on those two petals. Maybe this one as well. And see I'm holding down my single finger there to be able to select more than one. And then I'm just going to swipe up a little bit here so that I have a lighter version of that peach. I also generally go in and add the fill to the palette just so that I have it there for making changes anywhere else so that I'm not getting too, too many colors going here. So now I might then go and take one or more of the parts of the buds for that flower. And that's where I would go in and then use that swatch to color it rather than just swipe up. Now I know that I'm using that same color and I'm using it consistently throughout. And that's important in the end when I am actually preparing this swatch for a manufacturer. Or if I am outputting, you don't just kind of a color swatch group to go with this. I want to make sure that I'm using the proper colors. Yeah, like I said, I would definitely go in and I'm going to delete these right now because they're absolutely not gonna be used. I can tell you right now. And I'm also I don't think it'd be using well, I'll use some of those other ones there. I don't think I'll use this green or this one here. And generally when I am creating a pattern or a fabric, I tried to keep my colors to about between 20 colors right here. I've caught now 58, 17 colors, 5101517 colors. And that's comfortable for me. I know that that will end up being not too many colors and not too few colors. So I'm gonna go through and make some of those changes throughout. So again, double-clicking to isolate one of the shapes within a pedal and holding down one finger to be able to select. And here I would possibly go in and just select one of the colors, one of the peaches, let's say that I already have in my palette. I don't know if you noticed, but I did change this flower. I put that kinda similar center to the other big flower. I didn't do that on camera because that took a lot of kinda taking away of that background shape in order to make this one fit. And I had already showed you that concept. I didn't feel like I should take the time to show you that again. So this is my slightly darker shade. I've put it in there. And you don't want a case like this, you could also darken it a little bit more if you wanted to. I think I'm not gonna do that. I'm going to try to stick to what I've got here. I still plan on adding textures and things to these. So I don t think I'll be doing that in this class. I'll do a follow-up class for this one showing the addition of the textures. So I'll just plug away here and continue with KU some of my colors. And another thing I wanted to show you here was in a case like this, where this is all one great big shape. What I might do there is to, I've got the pencil tool selected. And I could something like this where I draw new section. I know it does not fit. It's not exactly the same. I'm going to close it. And in a case like this, what I would do is to take that particular shape, Let's make it lighter just so that you can see what's happening. So I've got it lighter here. I've actually got it right above the layer that I want to clip it to. And what I'm gonna do is drag it right on top of the word curve. And can see here, instead of putting it below, I'm actually going right into the middle of that. And you can see a blue line there. And when I let go, you'll see that it actually is clipped to that shapes. So that's allowed me to make that change without. Affecting that overall big shape. Here, I think I would just do something like this so that, that color goes all the way down. So that's one of the ways that you can work around the fact that you've got that all in one solid shape. I think this one, I will do that darker shade. So I'm being pretty selective about this. And you can see how just making those slight changes has actually done quite a bit to give some variety to the motifs. This one here, I may eventually go in and widen all of these lines because to me on this one, they look a little bit narrower. Too narrow, I think just maybe because I reduce the size of that flower at one point. So another thing we can do here, so let's go into this shape or this flower here. Clicking on it will ensure that when you draw the shape, you're drawing it as part of the group. So here what I want to show you is also a way to darken parts of the flower, but not all of it. So maybe I would include this little bit here, but I also wanted to just kind of go along here so that this section here could be darker. In order to close the shape, you can use your node tool and place it right on top of the original point. And that color, I think it was this was this one here. If I wanted to go slightly darker, I could do this, wipe down on the color swatch there, or I could have picked one of my darker ones because obviously these are darker here, but they're not quite right, are they? So let's do this one. We'll make it darker. We'll add the selection and de-select it. I'm going to actually delete this one and this one here because I don't know if I'll leave it for now, but I don't think I'm using that one either. So now let's look at that sheet that we just drew. So that's this piece here. Now, remember that our flower is in a bunch of different parts, so we may have to duplicate this to get it into all of the parts that we want it. So e.g. has to go into there. And even if we were to select all of these and group them, I'm not sure that we could get this to work. So I'm going to select this one first and drag that into that group. So you see now how it's cropped it, but it's not in the other ones anymore. So I think we have to do that. I'm going to duplicate it. Grabbed the next one, and drag it in. Duplicate it again. And this is the next one, drag it in. You see how it's working here. So you can see that that could be time-consuming on something that's really personal to off like that. Let's see if we can figure it out. Another way to do this. So let's bring this one back up to the top. And I'm just wondering if there is a blending mode that might work. So the reason it's difficult for this to work too, is that you can see that it's also interacting with the background. So I don t think a blending mode would be a method that we could use either. So I'm going to duplicate this again, and this time I'm going to drag it into this one. I'll drag this one into here. And this one can just be changed. If I wanted it to be the darker, I can just change it to be darker and this one as well. And that just leaves this one here that we didn't do yet. So I would duplicate this again, locate that and drop that in. So I've created that darker section as part of that. This one here I can just change to be the dark, darker color. And I can always still access these and make changes if the angle or something doesn't look right. For this one here, it might be good to have this one dark as well. So maybe really that whole little strip there could be darker. And you can see how that's just starting to make it a little bit richer. Looking overall. I'm thinking this one, this whole group here, I could change to that slightly darker color. I think I'm going to add a pH that's kinda intermediate. And I'm gonna get rid of this one here because it was a little bit darker in my opinion. So just lighten those two up and I can't remember if I did that one. Same. I think I did, so I'm making that one a little bit lighter. And this is what I would do now I will just go through and make all of these little corrections. Then I'm going to start thinking about what I'm gonna do for the textures that I wanted to add. I think I'm actually going to wrap up this class now with this lesson here, I'm going to continue to do these slight tonal changes throughout. I will bring you back in the wrap-up to show you what my finished pattern ended up looking like as far as colors go. And then we'll talk about next steps. Alright? Okay, see you in the wrap-up them. 10. Lesson 9 Conclusion and Wrap Up: Hey guys, welcome to the wrap up. I wanted to show you the finishing touches on this pattern. And of course show it to you on a couple of different mockups. I've even done a coordinate here because I think that this will help us to really think about different ways that we can go back to that hero pattern and make it more interesting. I definitely want to add texture to this. I don't even consider this done at this point. I think I'm going to consider producing another class that shows you how I think about and plan and then execute adding different textures to my final pattern. Sometimes it's even interesting to just keep a copy of it completely plane and then do the one with the different textures and have that kind of comparison. So you could look back and decide, like, Did it help? Was it an improvement? Does it make the pattern more appealing? Does it make it easier for me to add blender prints? All of these things are questions that I asked myself all the time when I'm doing my pattern design. I'm hoping that you have really gotten a lot out of this class and that it kind of makes it a little bit more clear to you how an actual pattern designer goes through the process of developing a pattern. Now if you haven't done so already, I'm going to suggest that you hit that follow button up there. That way anytime I post a new class, you'll be the first to hear about it. Also, I suggest that you get on over to my website, you can check out the artists resources there. There are a ton of free products that you can download. You can check out my discounted artists resources there. And of course, add your name to the mailing lists there because there are always new and different things coming out from my website than in all of my other regular posts. So get your name on that list. You don't want to be the one that Mrs. out. So thanks so much for hanging out again with me today. I hope that this is going to give you a little bit of inspiration for maybe taking something that you already have and changing it or starting from scratch and designing. And the same way. I think that this is a really interesting process for you to learn how to do. I've kept everything on the iPad at this point so that it would be easier for you if that's all you own. It's an iPad. I personally do end up taking just about all five patterns into Adobe Illustrator for finishing. And the main reason I do that is because then I can really experiment with the color ways. I'm gonna be covering more of that in classes as we progress through all of these different vector-based pattern design classes. I'll keep you posted. So I guess that's it for today and I will see you next time. Bye-bye.